NOTES from 2-10-20 rehearsal
HOODED CHORUS
In 1.8, the dolls need to actually be slid across your palms more deliberately. Right now, a lot of you are not even really touching the dolls to your hands. It should be extremely visceral.
DREW
When entering for 1.9, instead of coming through 2, come through 1, then travel through A to get up steps. This way you won’t collide with the exiting chorus.
HARPER
You are taking a lot of mini-pauses throughout scene 1.10. You should be picking up all your cues aggressively. There was a big one after “I’m so happy for you.”
TAYLOR
In 2.2, there is no pause between “Oh, my God. Michelle.” and the next “Oh, my God.” One flows instantly into the other – and you talk as you cross.
MICHELLE
in 2.2, you are really rushing the entire “He does. I can tell…” line into the crying. Let it drop in. It’s a nice moment of seeing her pain.
SEQ / BRIAN
In 2.2, you have to yell on the punch. No options. Do it. The punch is also still not on the right angle. When done properly, SEQ’s toes and Brian’s back are both angled exactly at 6. Right now it’s not even close.
LANE
At end of 2.2, exit 6, instead of 1. This sets you up for your entrance in 2.3.
AUSTIN (and Amethyst)
At the top of 2.3, cross to Amethyst and take her hand on “All the more reason I’m sure they didn’t make it happen.” We need to see some nice gentle intimacy between them. And then, cross back to A, confused, on your “Oh.”
AUSTIN / AMETHYST / SHAWN
In 2.3, when you are listening and watching Lane rant, you all seem so relaxed and casual. This display – so manic and “off” from Lane, should put a knot in all your stomachs. We should see the active concern – maybe look at each other occasionally as if to silently say “What’s wrong with Lane?”
DREW
In 2.7, “Block” is inaudible. You need to attack the word as if you are saying “F-you.” Go for it.
LANE
At the end of 2.9, are you still going to fully fold into yourself after Robin says “That I’ll be your nightlight…”? I think you should – and then that action will cue the transition.
RONAN
In 2.11, your forced sotto voce whispering to Drew in “the store” is really hard to understand – mushy diction.
HOODED CHORUS
In 2.13, when you do the rise of hands to “crush” Robin, it the push down – the “crush” – needs to be really violent and “ugly”. Go for it.
RONAN
In 2.14, the line in reference to Princes: “You mean that I would…” is not reading as what it means.
RONAN
In 2.14, I think you sat early. Make sure you sit right before “I can’t get out of bed in the morning.” You can’t sit, then pause, then say the line. The pause is the sitting and then you should speak.
HENRY
In 2.14, the cross on “What did you do?” is really odd. You are “over-arcing” it. So it looks like you are zig-zagging. Round it out.
RONAN
The line “I couldn’t write your name.” makes no sense, because you are emphasizing “name” instead of “your”.
AUSTIN
In 2.15, “One of Fincher’s finest” is not enunciated well. Losing the line.
LANE
In 2.15, the entire section “something about inseminating…” is very casual right now…I think we need to see their disgust at it all – so when you say it gets weird and gross, we buy it.
LANE
In 2.15, “I didn’t want to see any of that.” – love the intensity, but reel in the volume and attack a bit there…let’s see the simmering and not the explosion.
LANE
Top of p137 in 2.15, “And then WhatWouldTylerDurdenDo can rot…” – that line has been misinterpreted by all of us, I think. In that moment, you are in agreement with Austin – you are excited by it. It’s important, because you all get on the same page there and you turn to Shawn for help. And then later, they are baffled, because the plan worked – but Lane still can’t let it go.
HARPER
In 2.16, again…taking tons of mini-pauses before lines. Be careful.
ANDY
In 2.16 – but also in general - so much “fry” today. I think it’s because Andy is such a grump – it’s easy to fall into the trap of letting his lines drop. But…let his “grumpiness” be more aggressive. Your best vocal work is at the top of 2.2 when you’re arguing about Hamlet. Keep that vocal support in other places too!
BLAKE
In 2.16, “Liked” – we are losing the “k”.
HENRY
Top of 2.17, the run in is dangerous. You can’t cut the corner like that. Maybe change it so you run in to the middle of C instead of going to the block.
TAYLOR
In 2.17, the first time you say “You weren’t close” – “You” is the operative, not “close”. You need to think of it as “You weren’t close, because you are a boy.” That’s the meaning.
HARPER / WILEY
In 2.19, you are consistently 4 beats early to begin and so are ending 4 beats early…and then we all wait…
KAI / ELI
In 2.19, the bags of dolls will eventually be altered to wear along your belt line, so you will reach into the that way instead of bending down.
AUSTIN
In 2.19, your line “Your guy is a Samurai movie buff.” is a big moment. Land that line with some excitement that you have solved the mystery for them.
RONAN
Monologue at top of 2.20, “What was it in me…” In those lines, “me” is the operative.
SHAWN / AUSTIN / AMETHYST
2.21 was better, actually, but still…cut every single beat / pause. Move this forward with great anxiety and pace until Lane enters…then you all slow down as deep suspicion and accusatory energy takes over.
LANE
Final monologue. At times, it’s reading as though Lane really is a psychotic who’s tipped into a love of murder…there’s a lot of smiling and joy at the end… It’s a valid choice…but consider that Lane is as sad about this as Ronan. Lane doesn’t want to have to do this to him, but they must. I simply question the overt joy and relishing I’m seeing. Think about it.
ROBIN
The last two lines “Ok, Robin. Ok.” are rushed. Take your time on those. Bring the play to a soft close…
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